Old(er) Media and New Musical Affordances in Virtual Reality Experiences

2021 ◽  
pp. 711-736
Author(s):  
Michiel Kamp
Keyword(s):  
Virtual Reality ◽  
Video Games ◽  
Virtual Environment ◽  
Sound Source ◽  
Google Earth ◽  
Music Videos ◽  
Music Video ◽  
Audiovisual Media ◽  
Bodily Presence

This chapter explores how recent virtual reality experiences (from 2010 onward) have remediated musical “protocols” of older audiovisual media such as film, video games, and music videos while creating a number of new affordances that draw attention to the newness of VR. Soundtrack and music video protocols in 360° videos such as Lost and Gorillaz’s “Saturnz Barz” emphasize the affordance of looking for a sound source, while the addition of an ambient musical soundtrack to the VR remediation of Google Earth emphasizes the user’s bodily presence in the virtual environment. Critiquing and expanding the notion of VR as a form of what Bolter and Grusin would call “transparent immediacy,” the chapter suggests that the music in these VR applications also facilitates experiences of hypermediacy, foregrounding the apparatus and idiosyncrasies of a new medium.

scholarly journals Digital narratives: a study of the Arcade Fire interactive music videos

2015 ◽  
Vol 27 ◽  
pp. 387-402
Author(s):  
Elisa Maria Rodrigues Barboza
Keyword(s):  
Virtual Environment ◽  
Music Videos ◽  
Music Video ◽  
Technological Changes ◽  
Creative Development ◽  
Interactive Music ◽  
Digital Narratives ◽  
Made In

Initially seen as an audiovisual product made mainly for television, the music video, in recent years, has been expanding itself and gaining strength in the virtual environment. The possibility of easy and quick access through websites such as Vimeo and YouTube, besides the greater freedom these sites offer in comparison to the schedules of television channels, was only the beginning of the process of this format’s creative development. Its embracing of the technological changes culminates with the appearance of interactive music videos that strengthen investments made in experiences of digital narratives. In this context, one of the bands that stands out is Arcade Fire, whose trajectory already counts with four interactive audiovisual projects, namely Neon Bible (Vincent Morisset, 2007), Sprawl II (Vincent Morisset, 2010), The Wilderness Dowtown (Chris Milk, 2010) and Just a Reflektor (Vincent Morisset, 2013).

scholarly journals Intangible Narratives; An investigation on immersive architectural   visualisation in VR.

2021 ◽  
Author(s):  
◽  
Kar Wing Leung
Keyword(s):  
Virtual Reality ◽  
Real Time ◽  
Virtual Environment ◽  
Google Earth ◽  
Virtual Architecture ◽  
Methods And Techniques ◽  
Current Context ◽  
Tool Set

<p>Within the current context of digital architectural construction and immersive representation exists a problem of ‘ocularcentrism’ as defined by Pallasmaa. Recent immersive developments such as Google Earth VR, or Realities.io, focus primarily in working within the tangible experience, purely emphasising on geometric forms and physical artefacts. They largely ignore the more experiential and intangible qualities of space, which are crucial elements in a real embodied physical experience of architecture. Phenomenologists such as Pallasmaa, Holl, and Zumthor expand on this, identifying that architecture clearly exists as something beyond just the tangible. Architecture fundamentally is an experiential and spatial art, incorporating not just the geometric sense of space but also aspects of the intangible such as sound, movement, lighting and interaction. As a result of this tangible-bias, virtual-reality’s current use within architecture as an immersive medium is largely limited. Most developments can be described as ‘an immersive virtual photograph’ of architecture rather than an experience of one.  This research is a response to studies that directly address the problem of ‘ocularcentrism’ while also exploring the methods and techniques that can translate intangible qualities into virtual architecture. Utilising a Real-Time Virtual Environment (RTVE) and Virtual Reality (VR) tool set, this paper virtually reconstructs the case study of the Kowloon Walled City. It proposes a novel working methodology for immersive architectural visualisation with VR and adds to the on-going research in the field of phenomenology within architecture.</p>

scholarly journals Fragile Traces, Treacherous Sands: Ronen Sharabani and Micha Ullman’s Intergenerational Encounter

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 73
Author(s):  
Hava Aldouby
Keyword(s):  
Virtual Reality ◽  
Phenomenological Approach ◽  
Google Earth ◽  
Tel Aviv ◽  
First Category ◽  
Bodily Presence ◽  
Red Earth

This paper addresses an intriguing intergenerational encounter between Micha Ullman (b. Tel Aviv 1939), one of Israel’s most prominent senior artists, and Ronen Sharabani (b. Tel Aviv 1974), a young media artist. The two artists’ otherwise divergent practices converge in their use of sand and red earth as their primary media. The paper brings Mieke Bal’s concept of migratory aesthetics and Jill Bennett’s phenomenological approach to trauma-related art to bear on Ullman’s fragile earth installations and perforated sand tables, and on Sharabani’s projections of Virtual Reality onto sand. Also addressed is Sharabani’s series Vitual Territories (2019), in which digitally manipulated views from Google Earth probe geographical sites that resonate with migratory histories. The paper traces two main trajectories upon which the oeuvres of Ullman and Sharabani interface. The first category, “treacherous sands”, relates to installations involving sand tables and other containers of soil. In turn, the category of “fragile traces” addresses installations that feature various architectural ground plans modeled in sand. In these installations, sand is the quintessential terra infirma. At the same time, however, the paper proposes that through the haptic appeal of the medium of sand, these installations counter the pervasive anxiety of shifting ground with an augmented sense of bodily presence.

E-motion

2020 ◽  
pp. 232-270
Author(s):  
Christopher B. Patterson
Keyword(s):  
Virtual Reality ◽  
Video Games ◽  
Michel Foucault ◽  
Interactive Media ◽  
Google Earth ◽  
Roland Barthes ◽  
The Other ◽  
Virtual Tourism ◽  
Digital Surveillance ◽  
Eve Sedgwick

This chapter provides a conclusive stringing together of erotics, empire, and play by focusing on experiences of virtual tourism and conceiving of “the virtual other.” In video games, the virtual other places attention not onto this other but the inventor, the gazer, who has given up on obtaining a truthful and authentic access to the other and therefore sees them as virtual, somewhere between the real and the fake. Thinking through erotic methods found in the Asian confrontations of Roland Barthes, Michel Foucault, and Eve Sedgwick, this chapter argues that the modes of queer erotics in interactive media entice players to reimagine the virtual other by stepping outside of imperial forms of mapping, digital surveillance, and war. It examines discourses of virtual otherness manifested in transpacific cartography within Google Maps, the Civilization game series, and the virtual-reality experience of Google Earth.

Introduction

2013 ◽  
pp. xiv-10
Author(s):  
Carol Vernallis ◽  
Amy Herzog
Keyword(s):  
Video Games ◽  
Digital Media ◽  
Digital Age ◽  
Video Art ◽  
Music Videos ◽  
Audiovisual Media ◽  
Media Texts

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. This collection examines the rapidly shifting landscape of audiovisual media in the digital age. The volume initiates a dynamic, transdisciplinary dialogue between and among scholars, and takes up a range of media texts including blockbuster cinema, music videos, video games, amateur video compilations, documentaries, immersive theater, visualization technologies, and video art. One resonant theme is the ways sound and image can exist in myriad relations. Alongside harmonic convergences and ecstatic audiovisual mélanges, we find glitches, noise, rupture, and uncanny vestiges of outmoded practices. Our own mélange of scholarly approaches attempts to capture the texture and feel of this diverse media field.

scholarly journals Intangible Narratives; An investigation on immersive architectural   visualisation in VR.

2021 ◽  
Author(s):  
◽  
Kar Wing Leung
Keyword(s):  
Virtual Reality ◽  
Real Time ◽  
Virtual Environment ◽  
Google Earth ◽  
Virtual Architecture ◽  
Methods And Techniques ◽  
Current Context ◽  
Tool Set

<p>Within the current context of digital architectural construction and immersive representation exists a problem of ‘ocularcentrism’ as defined by Pallasmaa. Recent immersive developments such as Google Earth VR, or Realities.io, focus primarily in working within the tangible experience, purely emphasising on geometric forms and physical artefacts. They largely ignore the more experiential and intangible qualities of space, which are crucial elements in a real embodied physical experience of architecture. Phenomenologists such as Pallasmaa, Holl, and Zumthor expand on this, identifying that architecture clearly exists as something beyond just the tangible. Architecture fundamentally is an experiential and spatial art, incorporating not just the geometric sense of space but also aspects of the intangible such as sound, movement, lighting and interaction. As a result of this tangible-bias, virtual-reality’s current use within architecture as an immersive medium is largely limited. Most developments can be described as ‘an immersive virtual photograph’ of architecture rather than an experience of one.  This research is a response to studies that directly address the problem of ‘ocularcentrism’ while also exploring the methods and techniques that can translate intangible qualities into virtual architecture. Utilising a Real-Time Virtual Environment (RTVE) and Virtual Reality (VR) tool set, this paper virtually reconstructs the case study of the Kowloon Walled City. It proposes a novel working methodology for immersive architectural visualisation with VR and adds to the on-going research in the field of phenomenology within architecture.</p>

Viewing music videos: Emotion and viewer interpretation

2002 ◽  
Vol 14 (2) ◽  
pp. 69-79 ◽  
Author(s):  
Joan M. Preston ◽  
Michael Eden
Keyword(s):  
University Students ◽  
Emotional Content ◽  
Music Videos ◽  
Music Video ◽  
Mediating Factors ◽  
Comparative Media

Abstract. Music video (MV) content is frequently measured using researcher descriptions. This study examines subjective or viewers’ notions of sex and violence. 168 university students watched 9 mainstream MVs. Incidence counts of sex and violence involve more mediating factors than ratings. High incidents are associated with older viewers, higher scores for Expressivity, lower scores for Instrumentality, and with video orders beginning with high sex and violence. Ratings of sex and violence are associated with older viewers and lower scores for Instrumentality. For sex MVs, inexperienced viewers reported higher incidents and ratings. Because MVs tend to be sexier but less violent than TV and film, viewers may also use comparative media standards to evaluate emotional content MVs.

It's only real if you see it: Surround system based 3D sound source modelling in virtual reality

2013 ◽  
Author(s):  
Agoston Torok ◽  
Daniel Mestre ◽  
Ferenc Honbolygo ◽  
Pierre Mallet ◽  
Jean-Marie Pergandi ◽  
...  
Keyword(s):  
Virtual Reality ◽  
Sound Source ◽  
3D Sound

Virtual Unreality

2018 ◽  
Author(s):  
Jonathan Weinel
Keyword(s):  
Virtual Reality ◽  
Video Games ◽  
Drug Use ◽  
Conceptual Model ◽  
Interactive Video ◽  
Altered States Of Consciousness ◽  
Altered States ◽  
States Of Consciousness ◽  
Visual Systems

This chapter explores altered states of consciousness in interactive video games and virtual reality applications. First, a brief overview of advances in the sound and graphics of video games is provided, which has led to ever-more immersive capabilities within the medium. Following this, a variety of games that represent states of intoxication, drug use, and hallucinations are discussed, in order to reveal how these states are portrayed with the aid of sound and music, and for what purpose. An alternative trajectory in games is also explored, as various synaesthetic titles are reviewed, which provide high-adrenaline experiences for ravers, and simulate dreams, meditation, or psychedelic states. Through the analysis of these, and building upon the previous chapters of Inner Sound, this chapter presents a conceptual model for ‘Altered States of Consciousness Simulations’: interactive audio-visual systems that represent altered states with regards to the sensory components of the experience.

scholarly journals Rear-Seat Productivity in Virtual Reality: Investigating VR Interaction in the Confined Space of a Car

2021 ◽  
Vol 5 (4) ◽  
pp. 15
Author(s):  
Jingyi Li ◽  
Ceenu George ◽  
Andrea Ngao ◽  
Kai Holländer ◽  
Stefan Mayer ◽  
...  
Keyword(s):  
Virtual Reality ◽  
Virtual Environment ◽  
Physical Space ◽  
Rear Seat ◽  
Virtual Space ◽  
Future Research ◽  
Confined Space ◽  
Physical Restraints ◽  
Working Environments ◽  
Research And Design

Ubiquitous technology lets us work in flexible and decentralised ways. Passengers can already use travel time to be productive, and we envision even better performance and experience in vehicles with emerging technologies, such as virtual reality (VR) headsets. However, the confined physical space constrains interactions while the virtual space may be conceptually borderless. We therefore conducted a VR study (N = 33) to examine the influence of physical restraints and virtual working environments on performance, presence, and the feeling of safety. Our findings show that virtual borders make passengers touch the car interior less, while performance and presence are comparable across conditions. Although passengers prefer a secluded and unlimited virtual environment (nature), they are more productive in a shared and limited one (office). We further discuss choices for virtual borders and environments, social experience, and safety responsiveness. Our work highlights opportunities and challenges for future research and design of rear-seat VR interaction.

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